Korm Plastics is proud to present the eigth release in the Brombron series. Originally a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000, Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize.
liner notes by Howard Stelzer:
"I was introduced to Giuseppe Ielasi over email in 1999 or 2000 (I don't remember presicely), by a guy who ran a music magazine in Italy called BlowUp. The guy was writing about CDs on my label, Intransitive, and suggested that I get in contact with his friend in Milan named Giuseppe, who was starting a label of his own called Fringes. Giuseppe and I exchanged some CDRs of our music, corresponded for awhile, and discovered that we had much in common.
"When Giuseppe came to the US to promote his "Right After" album with Domenico Sciajno, he and I got along immediately. We're about the same age, we have a similar temperament, we play a similar sort of music... we're both excited about records, we love to eat, we're kinda geeky... yeah, this is my kind of guy! Giuseppe and I had spoken about collaborating at a few points over the years, but somehow it just never happened, probably because we're so busy with our various projects and labels, and... well, you know how life is. Time has its way of passing faster than it ought to. So Frans de Waard offered me a Brombron residency for which I could select any person in the world that I wanted to make an album with, I thought of Giuseppe. We met up in Nijmegen with a week in which to work.
"The method we chose was to first proceed to the closest coffee shop for a breakfast of cheese and meat sandwiches (me) and cookies (Giuseppe). Afterwards, we'd record improvisations for a few hours until lunchtime. I primarily used cassette tapes and Giuseppe used a guitar, but we also both played synths and electronic doodads and microphones, and I made some tape recordings around the city that I fed back in to our improvisations. Our minds were open, and we experimented without deciding in advance what sort of album we might be making. We'd then take a long walk, go to the Nijmegen record shops (where Plurex records were still cheap!), have some lunch, maybe also a snack, and then start to edit out the good bits from the morning. We'd also add some effects and change some parts, use the recordings as source material in a small way. Then we'd return to the record shops to buy the records we hesitated on in the afternoon, have some dinner and relax. The next day, we'd wake up, have coffee, and do it again. Our pace of working and comfort matched quite well. For the final few days of the residency, we started to piece together our bits until they worked as compositions. Then we edited some more until the album emerged.
"About the title.... as part of the requirements of our residency, we had to give a public concert at Extrapool. There was an art opening happening at the same time, so the gallery was packed with people. After we played, Extrapool took on a party vibe. It was a lot of fun, but it also made us both feel a bit strange; we're somewhat awkward in social situations, and didn't know anyone at the Extrapool party except for Frans and Roel Meelkop, who drove out from Rotterdam for the occasion. After our set, we left the venue to go get more fried Dutch snacks. We chatted about how we used to go out to parties more often when we were younger, but now we aren't even so old and we generally enjoy staying at home where it's quiet, listening to records and reading. Giuseppe was reminded on the song by Arthur Russell, "Losing My Taste for the Nightlife". Maybe we are. Or, maybe that's just how we felt on that evening. It doesn't matter, really, I suppose." - HS, 12/2005
liner notes by Howard Stelzer:
"I was introduced to Giuseppe Ielasi over email in 1999 or 2000 (I don't remember presicely), by a guy who ran a music magazine in Italy called BlowUp. The guy was writing about CDs on my label, Intransitive, and suggested that I get in contact with his friend in Milan named Giuseppe, who was starting a label of his own called Fringes. Giuseppe and I exchanged some CDRs of our music, corresponded for awhile, and discovered that we had much in common.
"When Giuseppe came to the US to promote his "Right After" album with Domenico Sciajno, he and I got along immediately. We're about the same age, we have a similar temperament, we play a similar sort of music... we're both excited about records, we love to eat, we're kinda geeky... yeah, this is my kind of guy! Giuseppe and I had spoken about collaborating at a few points over the years, but somehow it just never happened, probably because we're so busy with our various projects and labels, and... well, you know how life is. Time has its way of passing faster than it ought to. So Frans de Waard offered me a Brombron residency for which I could select any person in the world that I wanted to make an album with, I thought of Giuseppe. We met up in Nijmegen with a week in which to work.
"The method we chose was to first proceed to the closest coffee shop for a breakfast of cheese and meat sandwiches (me) and cookies (Giuseppe). Afterwards, we'd record improvisations for a few hours until lunchtime. I primarily used cassette tapes and Giuseppe used a guitar, but we also both played synths and electronic doodads and microphones, and I made some tape recordings around the city that I fed back in to our improvisations. Our minds were open, and we experimented without deciding in advance what sort of album we might be making. We'd then take a long walk, go to the Nijmegen record shops (where Plurex records were still cheap!), have some lunch, maybe also a snack, and then start to edit out the good bits from the morning. We'd also add some effects and change some parts, use the recordings as source material in a small way. Then we'd return to the record shops to buy the records we hesitated on in the afternoon, have some dinner and relax. The next day, we'd wake up, have coffee, and do it again. Our pace of working and comfort matched quite well. For the final few days of the residency, we started to piece together our bits until they worked as compositions. Then we edited some more until the album emerged.
"About the title.... as part of the requirements of our residency, we had to give a public concert at Extrapool. There was an art opening happening at the same time, so the gallery was packed with people. After we played, Extrapool took on a party vibe. It was a lot of fun, but it also made us both feel a bit strange; we're somewhat awkward in social situations, and didn't know anyone at the Extrapool party except for Frans and Roel Meelkop, who drove out from Rotterdam for the occasion. After our set, we left the venue to go get more fried Dutch snacks. We chatted about how we used to go out to parties more often when we were younger, but now we aren't even so old and we generally enjoy staying at home where it's quiet, listening to records and reading. Giuseppe was reminded on the song by Arthur Russell, "Losing My Taste for the Nightlife". Maybe we are. Or, maybe that's just how we felt on that evening. It doesn't matter, really, I suppose." - HS, 12/2005
credits
released 01 December 2005
GI - guitar and electronics
HS - cassette tapes and electronics
composed and recorded January 2005 at Geluidwerkplaats, Extrapool, Nijmegen, The Netherlands.
Thank you: Frans de Waard, Joyce Guley, Roel Meelkop, and everyone at Extrapool.
Originally published as a limited edition CD by Korm Plastics, as part of the Brombron series. Brombron is a joint project by Extrapool and Korm Plastics and receives financial support from the FPPM and Modriaan Stichting. Packaging concept and print at Kunst, Nijmegen.
GI - guitar and electronics
HS - cassette tapes and electronics
composed and recorded January 2005 at Geluidwerkplaats, Extrapool, Nijmegen, The Netherlands.
Thank you: Frans de Waard, Joyce Guley, Roel Meelkop, and everyone at Extrapool.
Originally published as a limited edition CD by Korm Plastics, as part of the Brombron series. Brombron is a joint project by Extrapool and Korm Plastics and receives financial support from the FPPM and Modriaan Stichting. Packaging concept and print at Kunst, Nijmegen.
